"Even the most, 'emotive' view of music has to 'be' emotive 'about something distinct', which necessarily involves having a 'theory' about it, for better or worse, in awareness or unawareness, and that a 'musical' something distinct can be cognitively understood as an "emotional experience" only insofar as it is first cognitively understood as a human-communicative manifestation, as an "instance of thought".
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from Meta-Variations: studies in the foundations of musical thought Red Hook, N.Y. : Open Space, 1995.Benjamin Boretz
» Benjamin Boretz - all quotes »
"Even discourse which does not acknowledge "musical coherence" as "intellectual communication" does not in fact succeed in treating it as anything else; it is only by locating their concerns in domains where the "musical" aspects of music are peripherally or not at all involved that musical discourses can circumvent the fact that when the "object of thought" consists of the contents of a musical composition just the recognition of the identities of any of these contents (or even of the undivided single identity of them taken all together as a "unit") involves (to varying degrees) the same considerations that are involved in a discourse that explicitly--and hence with a better chance of cognitive particularity--regards such a composition as an instance of communicative thought."
Benjamin Boretz
Augustine, the father of theologians, was walking on the ocean shore and pondering over the truth, "three distinct persons, not separate, but distinct; and yet but one God;" and he came upon a little boy that was playing with a colored sea- shell, scooping a hole in the sand, and then going down to the waves and getting his shell full of water and putting it into the hole. Augustine said, "What are you doing, my little fellow? " The boy replied, "I am going to pour the sea into that hole." "Ah," said Augustine, "that is what I have been attempting. Standing at the ocean of infinity, I have attempted to grasp it with my finite mind."
Joseph (reverend) Dare
I think there are some objective [musical] qualities... how complex something is, how melodic, how diverse the tonality is, et cetera. But I could also make a piece of music that contains all of those and yet isn't "good" from a subjective viewpoint. For example, take Beethoven's "Moonlight Sonata", Beatles "Yesterday", and Underworld's "Born Slippy", and play them all on top of each other at the same time. Great music in their own right, but terrible sounding together.
Andrew Sega
We started out in the middle ages creating music which had certain desirable physical properties (for example, a major chord sounds "nice" because the frequencies are in integer ratios to each other). And then as society evolved, we created these emotional contexts for certain instruments and progressions. Major-chord arpeggios sound "happy", minor chords sound "sad", chromatic scales can sound "scary", et cetera. In the 20th century, film soundtracks reinforced this point as people associated certain kinds of music with certain visual and emotional experiences. It's a giant feedback loop, really; once you grow up in a given culture, it leaves this musical fingerprint on you which colors your experiences.
Andrew Sega
In the Book of Hermes, "Pimander," is enunciated in distinct and unequivocal sentences, the whole trinitarian dogma accepted by the Christians. "The light is me," says Pimander, the DIVINE THOUGHT. "I am the nous or intelligence, and I am thy god, and I am far older than the human principle which escapes from the shadow. I am the germ of thought, the resplendent WORD, the SON of GOD. Think that what thus sees and hears in thee, is the Verbum of the Master, it is the Thought, which is God the Father... The celestial ocean, the AETHER, which flows from east to west, is the Breath of the Father, the life-giving Principle, the HOLY GHOST!" For they are not at all separated and their union is LIFE.
Helena Petrovna Blavatsky
Boretz, Benjamin
Borge, Victor
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